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In this important revisionist work, Sylvia Lavin uncovers the origins of one of the fundamental concepts of modern architectural theory, the idea that architecture is a form of language. She demonstrates how, in some little-studied texts, the late Enlightenment theorist Quatremere de Quincy transformed a simple metaphor into a framework for reconceptualizing the structure of architecture. Lavin's effort to interpret Quatremere in the context of intellectual history permits a deeper understanding of this controversial figure. More importantly, by focusing on the conceptual structure rather than the material illustrations of an architectural idea, she suggests a valuable new approach to the study of theories of architecture.Lavin suggests that by using language to provide architecture with a conventional rather than natural model, Quatremere equated architecture's capacity for progressive development with its sociality. Challenging the usual appraisal of Quatremere as a conservative academic, Lavin argues that his underlying emphasis on the social contract of architecture, rather than the neoclassical style he explicitly promulgated, is the key to the persistent interest in his writings. She shows how Quatremere's effort to establish a universally valid theory of architecture led him beyond the boundaries of academic classicism and into contemporary developments in language theory, ethnography, and Egyptology.Lavin then demonstrates how the relativism of these emerging spheres of knowledge, which sought to discover fundamental relationships between distinct cultural traditions, affected Quatremere's understanding of architecture. She posits Quatremere as the first thinker to develop a theory of architecture able to accommodate a wide range of formal expressions and generate dissimilar discourses. In the process, she reveals a consonance between the interdisciplinary nature of his thought and the extraordinary breadth of his influence.

In this important revisionist work, Sylvia Lavin uncovers the origins of one of the fundamental concepts of modern architectural theory, the idea that architecture is a form of language. She demonstrates how, in some little-studied texts, the late Enlightenment theorist Quatremere de Quincy transformed a simple metaphor into a framework for reconceptualizing the structure of architecture. Lavin's effort to interpret Quatremere in the context of intellectual history permits a deeper understanding of this controversial figure. More importantly, by focusing on the conceptual structure rather than the material illustrations of an architectural idea, she suggests a valuable new approach to the study of theories of architecture.Lavin suggests that by using language to provide architecture with a conventional rather than natural model, Quatremere equated architecture's capacity for progressive development with its sociality. Challenging the usual appraisal of Quatremere as a conservative academic, Lavin argues that his underlying emphasis on the social contract of architecture, rather than the neoclassical style he explicitly promulgated, is the key to the persistent interest in his writings. She shows how Quatremere's effort to establish a universally valid theory of architecture led him beyond the boundaries of academic classicism and into contemporary developments in language theory, ethnography, and Egyptology.Lavin then demonstrates how the relativism of these emerging spheres of knowledge, which sought to discover fundamental relationships between distinct cultural traditions, affected Quatremere's understanding of architecture. She posits Quatremere as the first thinker to develop a theory of architecture able to accommodate a wide range of formal expressions and generate dissimilar discourses. In the process, she reveals a consonance between the interdisciplinary nature of his thought and the extraordinary breadth of his influence.

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Il Carteggio documenta i rapporti di amicizia intercorsi tra l'illustre accademico di Francia, Quatremère de Quincy e Antonio Canova. Tra il teorico e lo scultore si stabilì un'intesa culturale, fin dal 1781, destinata a durare tutta la vita. Per il Quatremère, Canova incarnava l'ideale dell'artista, lucido studioso dell'estetica classica, appassionato di archeologia, tutto dedito all'arte, impassibile di fronte alle rivoluzioni politiche, disinteressato per la ricchezza, ritenuta solo un mezzo per favorire l'attività creativa. A Quatremère, Canova sottoponeva i progetti delle proprie opere e da lui aspettava, con umiltà ma senza rinunciare alla propria autonomia artistica, un consiglio o un giudizio. Lo stesso Quatremère, grande cultore delle opere greche e romane, indicò a Canova il metodo dell' "esecuzione sublime" nel procedere dal bozzetto al marmo finito, passando attraverso il modello in gesso, secondo l'insegnamento della tradizione classica. Nella città eterna, Canova trascorreva gran parte del suo tempo a studiare quello che l'accademico francese Quatremère definiva il "museo di Roma", fatto di "statue, di colossi, di templi, di terme, di circhi, di anfiteatri, di archi di trionfo, di tombe, di stucchi, di affreschi, di bassorilievi". Il volume viene presentato dal curatore del testo e dell'edizione anastatica, prof. Giuseppe Pavanello, Direttore del Centro Studi Canoviani.